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Старый 01.02.2009, 13:37   #1
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Jacques Fromental Halevy (1799-1862) - La Juive (Opera in 5 acts) 2DVD + Bonus (2004)



Jacques Fromental Halevy (1799-1862) - La Juive (La Judia), Opera in 5 acts, 2DVD + Bonus (2004)

2DVD (DVD1 & 2) + BONUS
Video - DVD5 !!, MPEG-2, Audio - 448 kbps 48.0 KHz 5 channels AC-3 !!)

Composers: Jacques Fromental Halevy (1799-1862)
Conductors: Vjetsoslav Vjetsoslav Sutej
Performers: Neil Shicoff (Voice) , Krassimira Stoyanova (Voice)
Genre: Classical
Style: Opera

Cast:
Neil Shicoff. Krassimira Stoyanova. Simina Ivan. Walter Fink. Jianyi Zhang. Boaz Daniel. Janusz Monarch. Johannes Gissar. Hacik Bayvertian. Martin Müller.
Orchestra and Choir of the Vienna State Opera. Director: Vjetsoslav Sutej.





Comment: Найдено в широкиx и глубокиx простораx интернета, большое спасибо gabrielgabi, и спасибо за "компас", Ambrose / found somewhere on internet, thanks a lot gabrielgabi, and thanks for the "tip", Ambrose



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Цитата:
Jacques-François-Fromental-Élie Halévy (27 May 1799 - 17 March 1862) (usually known as Fromental Halévy) was a French composer. He is known today largely for his opera La Juive.

'La Juive'
With his opera La Juive, in 1835, Halévy attained not only his first major triumph, but gave the world a work that was to be one of the cornerstones of the French repertory for a century, with the role of Eléazar one of the great favorites of tenors such as Enrico Caruso. The opera's most famous aria is Eléazar's "Rachel, quand du Seigneur" . Its orchestral ritornello is the one quotation from Halévy that Berlioz included in his Treatise on Orchestration, for its unusual duet for two cor anglais. It is probable however that this aria was inserted only at the request of the great tenor Adolphe Nourrit, who premiered the role and may have suggested the aria's text. La Juive is one of the grandest of grand operas, with major choruses, a spectacular procession in Act I, and impressive celebrations in Act III. It culminates with the heroine plunging into a vat of boiling water in Act V. Mahler admired it greatly, stating: "I am absolutely overwhelmed by this wonderful, majestic work. I regard it as one of the greatest operas ever created". Other admirers included Richard Wagner who wrote an enthusiastic review of its premiere for the German press. (Wagner never showed towards Halévy the anti-Jewish animus that was so notorious a feature of his writings on Meyerbeer).

Source: WIKI: http://en.wikipedia.org/wiki/Fromental_Hal%C3%A9vy
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Старый 01.02.2009, 14:02   #2
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Neil Shicoff Surpasses Himself
By Larry L. Lash

The tenor gives the performance of his career in the Vienna State Opera's La Juive.

Halévy: La Juive

Neil Shicoff (tenor) - Eléazar
Krassimira Stoyanova (soprano) - Rachel
Simina Ivan (soprano) - Princess Eudoxie
Walter Fink (bass) - Cardinal Brogni
Jianyi Zhang (tenor) - Léopold
Boaz Daniel (baritone) - Ruggiero
Janusz Monarcha (bass) - Albert

Orchestra and Chorus of the Vienna State Opera
Vyekoslav Sutej (conductor)
Günter Krämer (director)

Thursday 15 May 2003
Wiener Staatsoper, Vienna
A production of the Vienna State Opera



Anyone inclined to complain about the demise of the Golden Age of Singing should quit carping and channel that energy into obtaining a ticket to hear Neil Shicoff as Eléazar when the Metropolitan Opera borrows this Vienna State Opera production of La Juive next season (November–December 2003).

Chances are that if you know anything from this opera, it is Eléazar's fourth act aria, "Rachel, quand du Seigneur." If you are lucky, you have a recording of it by Enrico Caruso, Giovanni Martinelli or Richard Tucker; if you are extremely lucky, you will have the opportunity to hear Shicoff sing it live.

Jacques Fromental Halévy was a prolific composer who produced some thirty operas between 1827 and 1853. He is sometimes labelled a minor or derivative artist, but if La Juive occasionally reminds one of other composers — Donizetti, Bellini, Meyerbeer, Berlioz, Delibes — one must look at the time (the opera was written in 1835) and decide just who influenced whom.

This is French grand opera at its grandest, and it is heartbreaking stuff. The Jewish goldsmith Eléazar has raised the Christian child of another man as his own daughter, Rachel. The discovery of Rachel's relationship with Léopold, a betrothed nobleman, leads to imprisonment for Eléazar and the couple: sexual relations between Christians and Jews was a crime punishable by death in 15th-century Switzerland. Rachel saves Léopold by recanting her testimony about her relationship with him; the local archbishop, Cardinal Brogni, tells her that if she can persuade her father to convert to Christianity, she can save them both. Eléazar violently rejects the offer, thus sealing his fate as well as Rachel's: they are to be dropped into a vat of boiling oil. In the last moments of the opera, after Rachel's death, Eléazar reveals that she was Brogni's long-lost daughter.

Shicoff's Eléazar remained restrained and dignified throughout, quietly suffering the humiliations heaped upon him and offering some haunting, gorgeously shaped singing in the Passover seder scene. But in "Rachel, quand du Seigneur," he unleashed a hurricane of conflicting emotions; not since the glory days of Carlo Bergonzi and Franco Corelli have I heard such exciting, no-holds-barred singing. Shicoff took risks, vocally and dramatically, and they paid off; one moment in particular was so powerful that it's worth describing in detail. When Eléazar repeats the first verse of the aria (which is in simple A-B-A form), one important phrase, "C'est moi qui te livre au bourreau" ("it is I who delivers you to the executioner"), is altered: the word "moi" is repeated three times, soaring to a forte high B-flat on the final repetition. Shicoff didn't actually sing the second "moi," but rather hissed it in a paroxysm of self-loathing — and followed it with an explosive, perfectly focused B-flat. It was both great singing and spine-chilling theater.



Shicoff's entire performance showed a supremely intelligent artist at the height of his powers in a role which seems tailor-made for his many talents. But this was not a one-man show. La Juive calls for forces comparable in scale to Verdi's Don Carlo (which, as Toscanini observed, requires merely the five greatest singers in the world); Halévy's score asks for the best this planet can offer in the way of a dramatic tenor, a spinto soprano, a basso cantante, a tenore di grazia, a leggiera soprano and a lyric baritone. The Staatsoper's current cast meets only some of these demands.

As the proud, defiant Rachel, Krassimira Stoyanova displayed a creamy, full instrument of considerable beauty, from heavenly floated pianissimos to a heroic chest voice. But the truly remarkable thing was her utter naturalness on stage: she seemed always at ease, even during credulity-straining plot twists, and gave the impression that she was imparting great truths with her marvellous soprano.

In the role of Cardinal Brogni, Walter Fink gave his customary loud, woofy performance, about as pleasant to the ear as two cinder blocks rubbing together. Forcing his strident tenorino, Jianyi Zhang had a tough time with the punishing tessitura of Léopold's music. Although not announced as indisposed, he was having a great deal of trouble with phlegm; this made most of his many high notes frayed and raspy, garnering a general moan from the audience when he attempted to sustain them.

Clad in a Glinda-the-Good-Witch gown, Simina Ivan wasn't up to Princess Eudoxie's demanding music; she has had success in soubrette roles, but here her coloratura sounded labored and graceless. Once again, Boaz Daniel took a relatively small role, that of Ruggiero, the mayor, and turned it into a mesmerizing part of the story through the sheer velvety beauty and expertise of his vocalism. But the luxury of having this singer in supporting roles will soon be lost: next season he moves to the company's front rank. Conductor Vyekoslav Sutej led a committed, idiomatic performance, keeping control of the huge instrumental forces required by Halévy and showing an uncommon sensitivity for his singers.



Director Günter Krämer, whose Vienna State Opera credits include a modern-dress Nabucco on a bare stage and a Jonny spielt auf convoluted to the point of absurdity, offered a maddeningly uneven production. The action seemed to be set in 1930s Germany (Eléazar found a yellow star of David painted on his door), and the conceit of emphasizing the differences between the lives of the Jews and of the ruling nobility was carried to extremes. The royal family lived on top of an insanely steep platform which A scene from Act I of Halévy's 'La Juive' at the Vienna State Opera. (photo © Axel Zeininger, courtesy of Wiener Staatsoper GmbH) bisected the stage (one kept waiting for a piece of furniture or a character to topple over), dominated by a mammoth crystal chandelier which might have been designed for Paul Bunyan. The huge festival given in Léopold's honor became a small dinner party: instead of serving up a French opéra-ballet, Princess Eudoxie ladled out soup. The Jews lived below, underneath what appears to be the Coney Island boardwalk, and they were very fond of small wooden chairs. While the principal characters were mostly permitted to behave with relative naturalism, the townspeople of Constance were portrayed as a bunch of cartoonish, flag-waving buffoons in lederhosen and dirndls. There were moments of profound emotion (the jailed Eléazar ritualistically removes his shoes, socks, jacket and glasses, an act reminiscent of concentration camp victims being stripped of their possessions) and moments of puzzlement (as the curtain falls on the huge scene in which Rachel and Léopold's affair is revealed, Eléazar sits down, rolls up a shirtsleeve, and begins wrapping his arm with a long piece of cord). As we have learned from Monty Python, no one expects the Spanish Inquisition, so it was of course a surprise when cone-hooded executioners rushed onstage in the final moments and hustled Rachel into a hole which had previously served as a baptismal font. Shicoff and Stoyanova, at least, valiantly remained above the pervading silliness.

After the performance, members of every department of the State Opera and officials from the Austrian government crowded onstage to present Shicoff with the company's highest award: honorary membership. He is only the sixth tenor in the company's history to achieve the rank of Ehrenmitgleid. In his acceptance speech, Shicoff said, "After this reception, I think my only choice is to retire tonight." Sorry, Neil: we expect much more from you.

( Source: http://www.andante.com/article/article.cfm?id=20960 )


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P.S. Кому надо перевести на русский язык .. берите текст (или даже, просто, адрес страницы ( что выше .. или ещё раз: http://www.andante.com/article/article.cfm?id=20960 )), .. и несите его сюда, на "Гугл-переводчик" / "Google Translator": http://translate.google.com/

.. там выбрать "Английский" (Еnglish) и перевести на "Русский" (Russian) .. вставьте текст .. или просто адрес (что дал выше) в окошко туда.. и жмите кнопку.. - через пару секунд ... всё переведёцца.. - граммотно и очень эффективно
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